Festival, Symposium, and Epinician (Re)performance: The Case of <i>Nemean</i> 4 and Others

Currie, Bruno

doi:10.1017/9781316597798.009

Cited by 14 publications

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“…15 La bibliografía sobre el fenómeno de re-performance en la oda pindárica es vasta. Véanse principalmente los trabajos de Currie (2004;2017) y de Morrison (2007;2011;. El pasaje pindárico más visitado a este respecto es N. 4.13-16, en donde el poeta declara que si el padre del vencedor aún continuara con vida a menudo ejecutaría la oda en su cítara.…”

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Amphóteron mántin te agathòn kaì dorì máchestai: reelaboraciones poéticas y (re)performance en O. 6. 12-18 y CEG 519

Stripeikis

2021

Synthesis

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El objetivo del presente trabajo es estudiar los modos de adaptación y reelaboración de la frase ἀμφότερον μάντιν τε ἀγαθὸν καὶ δορὶ μάχεσθαι (“a la vez buen adivino y bueno para combatir con la lanza”), cuya primera aparición parece haber tenido lugar en la obra perteneciente a los cantos cíclicos conocida como la Tebaida. Para acometer este estudio se tomarán en cuenta dos producciones posteriores en las que dicha frase resurge: la Olímpica 6 de Píndaro y el epigrama número 519 de la colección de Carmina Epigraphica Graeca (CEG) de Hansen. Se analizará la adaptación poética del sintagma a los objetivos y procedimientos compositivos característicos de ambas producciones en el marco de un contexto histórico y socio-cultural más amplio. Asimismo, se hará hincapié en las implicancias que el fenómeno de (re)-performance tiene para transmitir la fama (κλέος) del laudandus o del difunto a través del empleo de dicha frase.

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Amphóteron mántin te agathòn kaì dorì máchestai: reelaboraciones poéticas y (re)performance en O. 6. 12-18 y CEG 519

Stripeikis

2021

Synthesis

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“…However, it would not materially affect the argument of the main text even if all the odes for Hieron were (re)performed at the Aitnaia (though then hardly 'back to back', all on a single occasion). 263 On occasions for epinician reperformance, see Currie 2004Currie , 2017 or even more than a very small portion of it, was performed, either synchronically or diachronically. There was certainly competition between epinician poets (see O.…”

Section: Performance Rivalry and Intrageneric Intertextualitymentioning

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Intertextuality in Early Greek Poetry: The Special Case of Epinician

Currie

2021

Trends in Classics

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This paper offers a reappraisal of the role of intertextuality in fifth-century BCE epinician poetry by means of a comparison with the role of intertextuality in all of early Greek hexameter poetry, ‘lyric epic’, and fifth-century BCE tragedy and comedy. By considering the ways in which performance culture as well as the production of written texts affects the prospects for intertextuality, it challenges a scholarly view that would straightforwardly correlate intertextuality in early Greek poetry with an increasing use and dissemination of written texts. Rather, ‘performance rivalry’ (a term understood to encompass both intra- and intergeneric competition between poetic works that were performed either on the same occasion or on closely related occasions) is identified as a plausible catalyst of intertextuality in all of the poetic genres considered, from the eighth or seventh century to the fifth century BCE. It is argued that fifth-century epinician poetry displays frequent, fine-grained, and allusive intertextuality with a range of early hexameter poetry: the Iliad, the poems of the Epic Cycle, and various ‘Hesiodic’ poems – poetry that in all probability featured in the sixth-fifth century BCE rhapsodic repertoire. It is also argued that, contrary to what is maintained in some recent Pindaric scholarship, there is no comparable case to be made for a frequent, significant, and allusive intrageneric intertextuality between epinician poems: in this respect, the case of epinician makes a very striking contrast with epic, tragedy, and comedy – poetic genres to which intrageneric intertextuality was absolutely fundamental. It is suggested that the presence or absence of intrageneric intertextuality in the genres in question is likely to be associated with the presence or absence of performance rivalry. A further factor identified as having the potential to inhibit intrageneric intertextuality in epinician is the undesirability of having one poem appear to be ‘bettered’ by another in a genre were all poems were commissioned to exalt individual patrons. This, again, is a situation that did not arise for epic, tragedy, or comedy, where a kind of competitive or ‘zero-sum’ intertextuality could be (and was) unproblematically embraced. Intertextuality in epinician thus appears to present a special case vis-à-vis the other major poetic genres of early Greece, whose workings can both be illuminated by consideration of the workings of intertextuality in epic, tragedy, and comedy, and can in turn illuminate something of the workings of intertextuality in those genres.

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2022

A Companion to Greek Lyric

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Festival, Symposium, and Epinician (Re)performance: The Case of Nemean 4 and Others

Cited by 14 publications

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Amphóteron mántin te agathòn kaì dorì máchestai: reelaboraciones poéticas y (re)performance en O. 6. 12-18 y CEG 519

Amphóteron mántin te agathòn kaì dorì máchestai: reelaboraciones poéticas y (re)performance en O. 6. 12-18 y CEG 519

Intertextuality in Early Greek Poetry: The Special Case of Epinician

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